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Tuesday, December 13


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#1 dirac

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Posted 13 December 2011 - 11:28 AM

More on the trouble at San Jose Ballet by Mary Ellen Hunt in The San Francisco Chronicle.

Nahat said the board decides which ballets will be performed, who will be cast in those ballets and which dancers stay or go. He is also being kept in the dark about what is in store for the company's immediate future.

Stephanie Ziesel, executive director of Ballet San Jose since 2009, would not confirm or deny any plans to remove Nahat. "There is always that possibility, but there is always tension between the artistic and business sides of a performing arts organization," she said. "This is usually not news, but it has been brought to the fore and is being prosecuted in a public forum when nothing has been decided at the organizational level."




#2 dirac

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Posted 13 December 2011 - 11:32 AM

Obituaries for Mark Goldweber of Ballet West, who is dead at 53. He also posted on this board as "Glebb" and will be greatly missed by all of us at Ballet Alert!

The Salt Lake Tribune

Sklute and Goldweber’s friendship stretched back 25 years, beginning as dancers and later faculty and staff with the Joffrey Ballet. Before the Joffrey moved its home from New York City to Chicago in 1995, Goldweber left to become ballet master for Oregon Ballet Theater. In Portland, Goldweber worked with the company’s executive director, Jóhann Jacobs, and costume director David Heuvel, both of whom later moved to Utah for the same posts at Ballet West.


The Deseret News

Born in Coconut Grove, Fla., Goldweber received his early ballet training under renowned Ballets Russes de Monte Carlo dancer Thomas Armour. Among his many accomplishments, Goldweber was cast at the age of 19 in the leading role of the "Boy in Blue" in The Joffrey Ballet's recreation of Sir Frederick Ashton's "Les Patineurs."



#3 dirac

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Posted 13 December 2011 - 11:38 AM

A review of Danbury Music Center's Nutcracker.

Also leaping into action, music director and conductor Ariel Rudiakov led the Danbury Symphony Orchestra in Tchaikovsky's score that can be a delight to listen to, but quite tricky to perform. DSO was augmented with a few special instruments, including harp for the "Waltz of the Flowers" and celeste for the Sugar Plum Fairy's dance. The ever-improving strings had solid support from the brass, winds, and percussion sections.

Not known for exaggeration, Mayor Mark Boughton said the DSO is the best symphony he's ever heard. Boughton rolled in, putting a good spin on his part as Mother Courage, dressed in the biggest bustier I've ever seen. Hmmm.



#4 dirac

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Posted 13 December 2011 - 11:42 AM

A Q&A with Justin Souriau-Levine, American Ballet Theatre's "Little Mouse" in its Nutcracker.

Q. What do you like about Little Mouse?
A. Well to be honest I think Alexei created it based on my personality. Because Little Mouse is kind of me. In my life I run a lot, I run around and I run away, like at lunch. It's a natural thing.

Q. Do you like being onstage?
A. Yes, I was never scared. I like that Alexei created these beautiful balletic scenes, like for Clara, or snow, and he also created some funny roles, like Fritz and the little mouse.



#5 dirac

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Posted 13 December 2011 - 11:47 AM

Carlos Acosta's first novel is accepted for publication.

Carlos Acosta is more accustomed to en pointe than penpoint, but the world-renowned Cuban ballet dancer has written his first novel in between performances around the world.

The story, which is as yet untitled, is set in Cuba and charts the island's history from the 19th century to the present, including a section set during the revolution of the 1950s.


Related.

It will be published in 2013, in a translation by Frank Wynne, translator of Michel Houllebecq's Atomised.



#6 dirac

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Posted 13 December 2011 - 11:49 AM

A review of Pennsylvania Ballet's Nutcracker by Ellen Dunkel in The Philadelphia Inquirer.

Riolama Lorenzo has been off the stage for several months, and it was wonderful to see her back as the sultry Coffee, performing with a bare midriff and sixpack abs that made it hard to believe she had a baby girl in July. There won't be many more opportunities to see her, though; she is retiring from the company in February.

Jermel Johnson excels in roles that require high jumps and extreme flexibility, and he brought both to Tea, with Carfolite and Ryan. This is the one divertissement that, while entertaining, also seems extremely dated, with non-Asian dancers representing Chinese people and performing stereotypical movements. Yet somehow, with an African American man and two white women in the roles, the politically incorrect aspect was played down.



#7 dirac

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Posted 13 December 2011 - 11:51 AM

A review of Ballet San Jose's Nutcracker by Mary Ellen Hunt in The San Francisco Chronicle.

Fortunately, once coaxed past the dangers of the rodent kind and into the theater, there was plenty to bewitch ballet-goers of any age. Nahat's 1979 retelling of the holiday classic has always been notable for its fresh spin and the wealth of detail throughout the ballet, whose Tchaikovsky score - with some interpolations and rearrangement - was given a sensitive rendering by the Symphony Silicon Valley under Dwight Oltman's direction. The first act especially, with its broad and yet meticulously executed comedy and thoughtfully plotted individual characters set in David Guthrie's textured and decorative Viennese home, just might be the best in the Bay Area's bevy of "Nutcrackers."



#8 dirac

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Posted 13 December 2011 - 11:56 AM

An interview with Adam Hendrickson.

Still, he moved away from home at 15 to take classes at the School of America Ballet in New York City. In 1998, he became a member of the corps de ballet at the New York City Ballet and was promoted to the rank of soloist in 2005.

In addition to Drosselmeyer, he’s danced in featured roles such as “Coppelia,” “Swan Lake,” “Romeo + Juliet” and “The Sleeping Beauty.”



#9 dirac

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Posted 13 December 2011 - 11:58 AM

A feature on Los Angeles Ballet by Emili Vesilind for Los Angeles Confidential.

Still, it seemed some local dance fans remained wary of the new company, which had adopted the same moniker as so many other upstarts that showed promise, but quickly fizzled out. But LAB’s high-quality dancers and consistent, stellar programming over the past five years—geared to both the ballet neophyte and the connoisseur—has eradicated much of the doubt.

LAB has had its share of turnover among its dancers since its inception, which is to be expected in a young company, but currently boasts around 30 dancers who work an annual 24- to 28-week season. “They are young, beautiful, and exciting to watch,” says a proud Neary, adding that many are fresh from America’s best ballet schools.



#10 dirac

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Posted 13 December 2011 - 12:00 PM

A preview of State Street Ballet's Nutcracker by Elizabeth Schwyzer in The Santa Barbara Independent.

This year, the role of the Nutcracker Prince will be performed on alternate days by longtime company members Ryan Camou and Jack Stewart, while newcomer Season Winquest will dance the role of the Sugar Plum Fairy. “She’s a sublime girl,” Gustafson said of Winquest, one of SSB’s most recent acquisitions. “She’s only 21 years old, and she’s super-talented.” Of course, the entire cast of this Nutcracker is top-notch, and if you happen to attend the Sunday matinee, you might just get a chance to meet some of them at the Sugar Plum Party held after the show in the Founders Room.



#11 dirac

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Posted 13 December 2011 - 12:02 PM

A story on "The Ebony Nutcracker" with photos and video.

In just seven short weeks, the show’s choreographer and artistic director, James Atkinson, pulled together one of the most heart-warming renditions of the ballet I have seen yet. “They run the Nutcracker at BAM, and it’s great,” said Atkinson who, aside from working as the show's artistic director, also danced as the Snow King and Snow Prince. “But most of the dancers in that production come from Manhattan and the school at the Kennedy Center.

“I pushed for this to happen because I felt the children in our community deserved the same opportunity to see themselves in the Nutcracker and be a part of such a holiday classic....."



#12 dirac

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Posted 13 December 2011 - 12:05 PM

A preview of North Coast Dance's Nutcracker.

This year marks the 10th anniversary of Furlong's production of Tchaikovsky's musical masterpiece that has found an artistic home in Eureka's Arkley Center for the Performing Arts. In fact, North Coast Dance is the official resident dance company of the Arkley Center and has world-premiered Furlong's original works there (”Jack And The Beanstalk,” “Gabriel's Garden”). Their annual production of “The Nutcracker” continues to play to sold-out holiday houses.

”Some people ask me constantly why we keep doing the same thing every year,” Furlong said. “I tell them that we do it because to a lot of other people, seeing 'Nutcracker' annually is an absolute, traditional necessity. This ballet has become part of our personal, holiday culture.”



#13 dirac

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Posted 13 December 2011 - 12:07 PM

Courtney Kramer will chat online with readers of the Journal Sentinel.

Milwaukee Ballet dancer Courtney Kramer, who plays the roles of Clara and the Snow Queen in "The Nutcracker," chats about it at noon today.



#14 dirac

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Posted 13 December 2011 - 12:09 PM

A review of the Paris Opera Ballet in "Onegin" by Laura Cappelle in The Financial Times.

It was meant to be an uneventful revival of John Cranko’s Onegin in Paris. But when the dancer scheduled to dance the title role on opening night sustained an injury two weeks ago, the Paris Opera Ballet found itself scrambling for a last-minute replacement. It finally enlisted Evan McKie, a principal in Stuttgart, where the ballet was created in 1967 – and, one dazzling premiere later, what was an emergency fix has turned into the sensation of the season.



#15 dirac

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Posted 13 December 2011 - 12:10 PM

A review of the National Ballet of Canada's Nutcracker by Dana Glassman in The National Post.

And no doubt there will be many children lining up for ballet lessons after seeing Heather Ogden as the Sugar Plum Fairy dance alongside her real life prince, Côté, in the role of The Nutcracker. When they dance together sparks fly. Ogden possesses steely technique and cool confidence, both of which compliment Côté’s magnetic stage presence and soft, high jumps.

Conductor David Briskin likes his Tchaikovsky score speedy and Côté never lags behind. He even managed to pause at the end of at least one quadruple pirouette and smile at the audience, before landing with bravura.




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